The Sanskrit Drama in its Origin, Development, Theory & Practice c18.36

c18.36

To Rājaçekhara¹ we owe a full account of the studies which went to make up the finished poet, who had the choice of Sanskrit, Prākrit, Apabhraṅça, and Paiçācī, or the speech of the goblins (*bhūtabhāṣā*), as his modes of composition. Knowledge of grammar, of the dictionary, poetics, and metrics are demanded, as well as skill in the sixty-four acts; purity of mind, speech, and body are requisite, as well as most attractive surroundings. The poet's male attendants are to speak Apabhraṅça, the female Māgadhī, while those within the harem itself are to use Prākrit and Sanskrit, and his friends to exercise themselves in all forms of speech. With pardonable lack of historical truth, we are told anecdotes of kings who forbade the use in their harems of certain letters, and combinations of sounds, on grounds of euphony, and the poet may imitate their usage. We also learn that Sanskrit was affected among the people of Bengal, in Lāṭa Prākrit, in Mārwār, and by the Ṭakkas and Bhādānakas, Apabhraṅça, while in Avantī, Pariyātra, and Daçapura Bhūtabhāṣā prevailed. The people of Surāṣṭra and the Travaṇas are credited elsewhere² with intermingling Sanskrit and Apabhraṅça, while unkind comments are made on the mode of pronouncing Sanskrit among the excellent poets of Kashmir, and on the nasal accent of the north as opposed to the music of that in Pañcāla. We learn also³ that poets were wont to make journeys, and to utilize the knowledge of other places thus gained in their works.